Falling Angels

In the waning days of the 1960s, a modest Ontario suburb becomes a micro‑cosm of an era defined by free love, Cold‑War anxiety, LSD experiments and the stirrings of feminism. The film swirls through looping timelines, its opening and closing frames echoing the roar of Niagara Falls, while the heart of the story beats in the cramped, cluttered home of the Fields. A wickedly funny, off‑kilter tone blends the absurd with the intimate, painting a portrait of a family whose everyday rituals feel both timeless and oddly psychedelic.

The patriarch, Jim Field, runs the household with the precision of a military drill, constructing a bomb shelter in the backyard and insisting on constant vigilance. Beneath his stern exterior lies a paradox of heavy drinking, infidelities, and an almost protective concern for his wife. Mary Field, a former dancer now perpetually perched on the couch with a whiskey‑filled cup, moves through the rooms in a catatonic haze, her presence softened only by the flickering television that both consoles and consumes her. Their strained partnership anchors the family, creating a fragile grip on reality that the daughters navigate daily.

The three teenage sisters each embody a distinct response to the suffocating order of their home. Norma Field, the eldest, is quiet and self‑sacrificing, shouldering domestic duties while quietly tending to the lingering mysteries of her past. Lou Field, the middle child, rebels with sharp wit, craving autonomy and testing the limits set by her father, all while nurturing a fierce, albeit conflicted, love for her mother. The youngest, Sandy Field, clings to a naive ideal of femininity, seeking romance and adulthood in ways that expose her to the bewildering complexities of desire. Together, their intertwined journeys hint at a coming‑of‑age tale where duty, curiosity and the restless spirit of an era collide, leaving the future of the Fields delicately poised between revelation and denial.

Last Updated: October 23, 2025 at 16:14